The Extended Importance of the Social Creation of Value in Evolutionary Processes

This is a single-authored paper delivered at the biennial European Conference on Artificial Intelligence (ECAI) in Riva del Garda, Italy 28 – 29 August 2006 and published in proceedings. The paper proposed that computational modelling be employed in order to test two processes that might hypothetically distinguish particular dimensions of human creativity. The first process is identified by the researcher as one in which the pursuit of novelty in artistic invention – especially music – tends to words the production of increasingly perceptually complex artefacts. The second process moves from a perspective orientated towards the individual artist and the individual art work’s reception to a more collective one: namely, whether cultural behaviour that tends towards novelty might find itself being reinforced by clustering of similar activities. This latter process would be one that explains why the process of “making special” – that may distinguish art in an anthropological sense – is one that forms particularly strong community bonds. These bonds between novelty seekers – which in the case of the researchers paper can be understood as musicians or artists – may reciprocally reinforce to support yet more novelty seeking. The relation of art and the new is not itself innovative. Boris Groys’ “On The New” provides a scoping of that territory. What is innovative is the proposal to use of computer simulation of individual and collective behaviour as a kind of artificial laboratory to determine the complex tendencies that animate these processes of novelty seeking and, by extension, artistic production. Computationally simulating behaviour that parallels both novelty-seeking as an individual practice (the artist) and the emergence of clusters of novelty seekers (the artistic styles) may, according to the researcher, provide us with new insights the historical evolution of creativity

Some Empirical Criteria for Attributing Creativity to a Computer Program

Peer reviewedPostprin

Creativity and authenticity: perspectives of creative value, utility and quality

This paper is written from the perspective of creative practitioners in sound, music and the visual arts teaching in UK higher education. Primarily concerned with the understanding of creativity as a developmental capacity and identifiable and measurable process and outcome, what began initially as a focused discussion about the assessment of creative artefacts developed progressively into a more general analysis of creative value in terms of reception and developmental experience. Recognising the impact of new technologies and the changing conceptions of creative technique and craft, collaboration and origination, and diversification of attendant interpretive meanings inherent with new artistic forms, the study is an attempt to establish a position from which pedagogic practices can be honed and refined to meet the expectations and needs of contemporary practitioners and educational contexts. The objective in any educational experience and any process of artistic creation being to enrich and to effectively inform further development steps, value is therefore a highly diverse and granular commodity, measurable on many different scales, and capable of understanding in many different ways. This is a study of considerations and perspectives and ways of understanding and working with creative value and an attempt to develop a framework through which to base creative decisions as educators and practitioners. Creativity models tend to emphasise utility and originality as the key factors in determining creative value; the wider recognition and impact of the outcomes of creative endeavour preeminent in the interpretation and attribution of quality and significance. Whilst most evident and analytically objectifiable in the study of reception and in the analysis of outcomes, creative practices and processes nevertheless feature more prominently in the interpretation of value in some fields. Whilst the products of the creative practice of artists, musicians and writers retain the centre ground in the discourse of creativity, the authentication of creative endeavour is nevertheless closely connected to the narratives surrounding the inception and development of the work and the security of the connection established between the creative object and the creative originator; the intangible and entirely conceptual matter of attribution and provenance often proving more significant than physical artefact in substantiating at least commercial value in many cases. Investigating the potential for a meaningful definition of ‘authentic creativity’, notions of novelty, ignorance, forgery, fakery, reproduction and patterning, provide a basis for consideration of creativity both as an unstable concept and in parallel as a metaphor for the human condition. Considering the discourse of authenticity and aesthetics, this paper explores different perspectives of creativity as lived experience and positions analysis in the narratives of insight, imagination, and the romanticism of discovery and talent. Introducing an analysis of creativity through a series of conceptual models to illustrate key concepts and ideas, this essay presents a discussion rooted in a context of collapsing distinctions between the natural and the artificial, the authentic and the inauthentic, the original and the copy, and develops a tentative definition of authentic creativity and creative authenticity for wider consideration. That creativity matters in education and society is widely acknowledged and appreciated. This paper argues for a greater focus on the lived experience of creativity and the significance of determining value in terms of human experience over productivity

Creative User-Centered Visualization Design for Energy Analysts and Modelers

We enhance a user-centered design process with techniques that deliberately promote creativity to identify opportunities for the visualization of data generated by a major energy supplier. Visualization prototypes developed in this way prove effective in a situation whereby data sets are largely unknown and requirements open – enabling successful exploration of possibilities for visualization in Smart Home data analysis. The process gives rise to novel designs and design metaphors including data sculpting. It suggests: that the deliberate use of creativity techniques with data stakeholders is likely to contribute to successful, novel and effective solutions; that being explicit about creativity may contribute to designers developing creative solutions; that using creativity techniques early in the design process may result in a creative approach persisting throughout the process. The work constitutes the first systematic visualization design for a data rich source that will be increasingly important to energy suppliers and consumers as Smart Meter technology is widely deployed. It is novel in explicitly employing creativity techniques at the requirements stage of visualization design and development, paving the way for further use and study of creativity methods in visualization design

Use Cases for Abnormal Behaviour Detection in Smart Homes

While people have many ideas about how a smart home should react to particular behaviours from their inhabitant, there seems to have been relatively little attempt to organise this systematically. In this paper, we attempt to rectify this in consideration of context awareness and novelty detection for a smart home that monitors its inhabitant for illness and unexpected behaviour. We do this through the concept of the Use Case, which is used in software engineering to specify the behaviour of a system. We describe a set of scenarios and the possible outputs that the smart home could give and introduce the SHMUC Repository of Smart Home Use Cases. Based on this, we can consider how probabilistic and logic-based reasoning systems would produce different capabilities

Tile Pattern KL-Divergence for Analysing and Evolving Game Levels

This paper provides a detailed investigation of using the Kullback-Leibler (KL) Divergence as a way to compare and analyse game-levels, and hence to use the measure as the objective function of an evolutionary algorithm to evolve new levels. We describe the benefits of its asymmetry for level analysis and demonstrate how (not surprisingly) the quality of the results depends on the features used. Here we use tile-patterns of various sizes as features. When using the measure for evolution-based level generation, we demonstrate that the choice of variation operator is critical in order to provide an efficient search process, and introduce a novel convolutional mutation operator to facilitate this. We compare the results with alternative generators, including evolving in the latent space of generative adversarial networks, and Wave Function Collapse. The results clearly show the proposed method to provide competitive performance, providing reasonable quality results with very fast training and reasonably fast generation.Comment: 8 pages plus references. Proceedings of GECCO 201